WARNING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

Transcription

1 owner s manual by

2 CATION ISK OF EECTIC SHOCK DO NOT OPEN ISQE DE CHOC EECTIQE NE PAS OVI AVIS CATION: TO EDCE THE ISK OF EECTIC SHOCK DO NOT EMOVE COVE (O BACK) NO SE-SEVICEABE PATS INSIDE EFE SEVICING TO QAIFIED PESONNE ATTENTION: PO EVITE ES ISQES DE CHOC EECTIQE, NE PAS ENEVE E COVECE. ACN ENTETIEN DE PIECES INTEIEES PA 'SAGE. CONFIE 'ENTETIEN A PESONNE QAIFIE. AVIS: PO EVITE ES ISQES D'INCENDIE O D'EECTOCTION, N'EXPOSEZ PAS CET ATICE A A PIE O A 'HMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. e symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de voltage dangereux non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. e point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil. SAFETY INSTCTIONS. ead Instructions All the safety and operation instructions should be read before this product is operated.. etain Instructions The safety and operating instructions should be kept for future reference. 3. Heed Warnings All warnings on this product and in these operating instructions should be followed.. Follow Instructions All operating and other instructions should be followed. 5. Water and Moisture This product should not be used near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, etc. 6. Cleaning Clean only with a dry cloth. 7. Ventilation This product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings. 8. Heat This product should be situated away from heat sources such as radiators, or other devices which produce heat. 9. Power Sources This product should be connected to a power supply only of the type described in these operation instructions or as marked on this product. 0. Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this product.. Object and iquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this product.. Damage equiring Service This product should be serviced only by qualifi ed service personnel when: A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has spilled into this product; or C. This product has been exposed to rain; or D. This product does not appear to operate normally or exhibits a marked change in performance; or E. This product has been dropped, or its chassis damaged. 3. Servicing The user should not attempt to service this product beyond those means described in this operating manual. All other servicing should be referred to the Tapco Service Department.. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure. Pour préevenir les chocs électriques ne pas utiliser cette fi che polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert. 5. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this product is not defeated. 6. Power Precaution nplug this product during lightning storms or when unused for long periods of time. 7. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. ATTENTION e présent appareil numérique n émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada. 8. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to suffi ciently intense noise for a period of time. The.S. Government s Occupational Safety and Health Administration (OSHA) has specifi ed the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here. Duration Per Day Sound evel dba, Typical In Hours Slow esponse Example 8 90 Packed garage concert VW Bus Peace Train Cranked psychedelic tunes High speed chase on C.H.I.P.s or less 5 oudest parts at a Heavy Metal concert WANING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

3 Contents Safety Instructions... Getting Started... Introduction...6 Hookup Diagrams...7 Blend 6 Features...8 Channel Inputs...8 Channel Controls...9 Equalization...9 Auxiliaries...9 Master Section... Output Connections... ear Panel Features... Appendix A: Service Information...3 Appendix B: Connections... Appendix C: Blend 6 Specifi cations...5 Gain Structure Diagram...6 Block Diagram...7 Track Sheets...8 TAPCO imited Warranty...9 Don t forget to visit our website at for more information about this and other TAPCO products. What me, read a manual? Before you begin, please make sure you read the Safety Instructions on page and Getting Started on page. Your new TAPCO Blend 6 mixer is designed to set up quickly and operate easily. We know it s often seen as a sign of weakness to read a manual, along with asking for directions when lost, but maybe you can read the rest when nobody is looking. It is important to keep your receipt in a safe place, and not a bad idea to write your product information here for future reference (i.e., insurance claims, tech support, return authorization, etc.). Product Serial #: Purchased at: Date of purchase: Part No ev. A /0 00 OD Technologies Inc. All ights eserved. 3

4 Getting Started The following steps will help you set up your mixer, and get the levels and adjustments just right. ZEO THE CONSOE:. Turn everything off, including the mixer s POWE switch and PHANTOM POWE switch.. Turn down the channel strip, AX, AX, and EVE controls. 3. Center the channel strip and PAN controls.. Turn down the AX ETNS, CONTO OOM, and controls. 5. Turn down the control. CONNECTIONS:. Connect your speakers to your amplifi er s outputs (unless, of course, you have powered speakers).. Plug all the sound system components into suitable AC outlets, properly grounded and capable of delivering adequate current. 3. sing TS cables, make connections from your mixer s OT to your amplifi cation system s line inputs.. Connect your microphones and instruments to the mixer: Connect microphones to the mono channel jacks. (For condenser microphones, engage the PHANTOM POWE switch.) Connect highimpedance line-level instruments (electric guitar, bass guitar) to the mono channel INST IN, or other line-level signal source to the stereo channel INE IN jacks. Note: Normally, you would plug in only one microphone or one instrument into each mono channel. 5. Zero the console, as shown above. 6. Turn all the power switches on, leaving the amplifi er s switch for last. 7. Turn up the control to the 9 o clock position, for now. We ll crank it up later on. 8. Now you are ready to set the levels.. If necessary, apply channel changes. (You may need to compensate for level changes afterward with the channel EVE control.) 5. epeat steps through for the other Mic/ine channel. 6. Stop making noise. Everyone: start making music. 7. Now turn up the control to a comfortable listening level. THE EVES (Channels 3/ and 5/6):. Make some noise with the mono or stereo instrument connected to the INE IN jacks on Channels 3/. Play it at its normal output level.. aise that channel s EVE control until it is approximately equal in volume to the microphones or instruments connected to channels and. 3. If necessary, apply channel changes. (You may need to compensate for level changes afterward with the channel EVE control.). epeat steps through 3 for Channels 5/6. TWEAK THE MIX:. If you are using an external processor connected between the AX and the AX ETN jacks, use each channel s AX control to send signal to the processor, and add the processor s signal to the mix using the AX ETN TO control.. Now that you have a rough mix going, you may need to readjust the control to a comfortable listening level. The ED V meters should indicate by lighting most of the green EDs when music is playing, and occasionally light the yellow EDs. 3. Depending on how much time you have, keep tweaking. Walk the room to see how it sounds away from your mixer. Keep tweaking. THE EVES (Channels and ):. Choose one of the microphones or instruments you connected to the mono or INST input. Make some noise. If it s a microphone, sing at your normal singing volume. If it s an instrument, play it at its normal output level.. While making noise, turn up that channel s until the adjacent EVE ED starts blinking. 3. aise that channel s EVE to unity gain ( label). You should be hearing your noise now.

5 INPT INPT AX ETN AX S CT OOM (O) IN OT OT OT INST INPT INST INPT INE IN INE IN 3/ 5/6 EVE EVE (O) (O) -db +5dB -db +5dB BA /NBA BA /NBA IN OT khz khz khz khz POWE EFT IGHT O 6 8 OW OW OW OW NM 0 AX AX AX AX PHANTOM 8V AX ETN TO MIX TO AX 0 = +dbu PAN PAN PAN PAN 3 CT OOM OFF EVE EVE EVE EVE TO A FEW PECATIONS: Never listen to loud music for prolonged periods. Please see the Safety Instructions on page for information on hearing protection. Never plug amplifi er speaker-level outputs into anything except speakers. Never use guitar cables to connect amplifi ers to speakers. Before making connections to an external amplifi er, or reconfi guring an amp s routing, turn the amp s level (gain) controls down, turn the power off, make the changes, turn the power back on, and then turn the level controls back up. When you shut down your equipment, turn off any external amplifi ers fi rst. When powering up, turn on the amplifi ers last. Save the shipping box and packing material! The box can also be turned into a unique hat, lunch box, or handbag to accessorize your mixer. 5

6 Introduction Thank you for choosing a TAPCO Blend 6 mixer by Mackie. The TAPCO family of mixers hails back to the days of TAPCO Corporation, Greg Mackie s fi rst company. TAPCO revolutionized the audio industry back in 969 with the very fi rst 6-channel mixer specifi cally designed for keyboards and rock N roll PA. The fi rst TAPCO mixer, although primitive by today s standards, was truly innovative for its time. It had the headroom to handle screaming singers, was priced for the pocketbook of starving psychedelic musical neophytes, and durable enough to withstand mammoth levels of wear and tear on the road, and at now-legendary concerts. TAPCO version of Greg In essence, TAPCO re-defi ned the price performance ratio and made high-quality professional audio mixers accessible to virtually anyone. Today, TAPCO is reborn with the same ideals and is backed by the world-class engineering and manufacturing horsepower of Mackie. This compact mixer is perfect for small to medium-sized live sound reinforcement applications, keyboards and synths, video, and small-project studio applications. Here s a quick glance at all the features packed into this mixer: mono mic/line channels, with: Variable input trim (+3 to +50 db for microphones, and to +5 db for line-level inputs) Phantom power (globally switched) evel Set indicator ED X microphone input jack /" TS instrument line input jack Pre-fader aux (monitor) send Post-fader aux (effects) send -band Pan control otary level control stereo line channels, with: eft and right /" TS line input jacks Pre-fader aux (monitor) send Post-fader aux (effects) send -band Pan control otary level control Master section, with: otary stereo Main Mix control Balanced /" TS stereo main outputs 8-segment stereo ED V metering /" TS Aux /Monitor send /" TS Aux /Effects send Two rotary stereo aux return controls (To Mains and To Monitors) CA tape out CA tape in Master +8V phantom power switch with ED indicator eft and ight /" TS Control oom outputs with evel control Stereo /" TS Headphone output with evel control Power ED indicator Inter-Planetary Space Drive control OK, we made that last one up, but we can pencil it in for next time 6 TAPCO van (a.k.a. micro bus)

7 -db -db +5dB +5dB -db -db +5dB +5dB Hookup Diagrams Small Club Gig Mono in/stereo out everb (optional) Active Monitor Microphones and INPT INPT AX ETN AX S CT OOM (O) IN OT OT OT INST INPT INST INPT INE IN INE IN 3/ 5/6 EVE EVE (O) (O) Active Speakers (Mackie SM50s) BA /NBA BA /NBA IN OT Headphones Tape Player DAT ecorder Keyboard Drum Machine Computer set-up Mono in/stereo out everb (optional) Sound Card Mackie H8 or other Active Studio Monitors INE IN Microphone INE OT INPT INPT AX ETN (O) AX S CT OOM IN IN OT OT OT INST INPT INST INPT INE IN INE IN 3/ 5/6 EVE Guitar EVE (O) BA /NBA (O) BA /NBA IN OT Headphones Note: Push down the CONTO OOM (8) switch to listen to the sound card output in the control room speakers and headphones. eave it up to listen to the main mix. Do not press the CD/TAPE TO () switch, or there will be feedback. Drum Machine 7

8 Blend 6 Features INPT INPT AX ETN AX S CT OOM (O) IN OT OT OT INST INPT INST INPT EVE 3 3 -db +5dB EVE -db +5dB INE IN INE IN 3/ 5/6 5 5 (O) BA /NBA 5 5 (O) BA /NBA IN OT 8 CHANNE INPTS. (OPHONE) INPTS The Blend 6 is equipped with two rugged, lownoise, phantom-powered microphone preamplifi ers, providing up to 50 db of crystal-clear amplifi cation. Their balanced circuitry rejects all manner of extraneous interference. Professional condenser, dynamic, and ribbon mics all sound excellent through these X inputs. You can plug in almost any kind of balanced mic that has a standard X-type male mic connector. See Appendix B for more information on X connectors. The TAPCO Blend 6 provides +8 VDC phantom powering on pins and 3 of the mono channels X inputs. This can be turned on and off using the PHANTOM POWE (7) switch. CATION: DO NOT connect a linelevel device to a input with the phantom power switched on. This could damage the device. se the INST IN () or INE IN (5) jacks instead. Do not use phantom power with tube or ribbon microphones, as this may cause damage.. INST (INSTMENT) INPTS These inputs can accept /" TS balanced and TS unbalanced plugs from any line-level instrument, effects device, or tape player. They can be driven by virtually any line-level signal, from 5 dbu up to +8 dbu. These inputs are specially designed to accept signals from high-impedance pickups on guitars. Normally, you must use a direct box between a guitar and a mixer s input, which serves to convert the impedance of the guitar from high to low. The INST inputs on Channels and make the need for a direct box unnecessary. 3. CONTO If you haven t already, please read THE EVES on page. The control adjusts the input sensitivity of the and INST inputs. This allows signals from the outside world to be adjusted to optimal internal operating levels. Through the mono channels (X) inputs, there is 50 db of gain with the knob fully up. Through a mono channels INST IN (TS) inputs, there is db of attenuation fully down and 5 db of gain fully up, with a (unity gain) mark halfway up. Having db of line-level attenuation can be very handy when you are injecting a signal that is very hot, or when you want to add a lot of boost, or both. Without this pad, it would be very diffi cult to control the line signal and might lead to channel clipping.. INPT EVE ED This handy ED (ight Emitting Diode) lets you know that the signals going into the mixer are adjusted to the correct level, not too strong to cause distortion and not too weak to be lost in noise. After you connect a microphone or line-level component to the mixer, do a sound test and adjust the control until this handy ED fl ickers just occasionally. If it is glowing constantly, turn the down. If the ED is doing almost nothing, turn it up. 5. EFT (O) and IGHT INE IN These inputs can accept /" TS balanced and TS unbalanced plugs from any line-level instrument, effects device, or tape player. When connecting a stereo device (two cords), use both the left (mono) input and the right input. When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. A trick called jack normalling causes the signal to appear on both sides.

9 CHANNE CONTOS Channel strips and allow adjustment of, Pan and evel for mono signals. Channel strips 3/, and 5/6 allow adjustment of stereo or mono signals. The output from each strip passes onto the left and right main mixes. Auxiliary signals can be tapped off and sent to monitors or processors. The block diagram on page 7 shows how the signal fl ows through the mixer. OOK NITY The symbol on most of the controls, stands for unity gain, meaning there is no change COSE in signal level. Once you have adjusted the input signal to linelevel, you can set every control at, and your signals will travel through the mixer at optimal levels. AIZATION Each control provides up to db of shelving boost, and 5 db of shelving cut, with no change to the signal (0 db) in the center position. Although you can bring a sound to life with proper, you can also mess things up. If you max the s on every channel, you ll get mix mush, not to mention driving your mix levels near or beyond clipping. So equalize subtly; use cut as well as boost khz OW AX PAN EVE 6. HI Turning this clockwise boosts the level of all frequencies above khz. Turning it counter-clockwise cuts the levels. se this wisely to add sizzle to cymbals or an overall sense of transparency or edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance or hide tape hiss. 7. OW Turning this clockwise boosts the level of all frequencies below 80 Hz. Turning it counterclockwise cuts the levels. Frequencies of 80 Hz and below represent the punch in bass drums, bass guitar, fat synth patches, and hightestosterone male singers. AXIIAIES In addition to the main mix output, the mixer provides two auxiliary mixes, which you can send to parallel effects processors or stage monitors. The AX knobs adjust how much of each channel is tapped off, added to each aux mix, and sent out via the AX (6, 7) jacks. Channel 3/ and 5/6 AX knobs control a mono sum of the channel s stereo signals. For instance, channel 3 () and () mix together to feed that channel s AX send knobs. 8. AX AX is designed to send a separate mono mix to your stage monitors via the AX (6) output jack. The,, and AX controls will affect the output to your monitors, but PAN and EVE won t. This signal is tapped off before the channel EVE control. 9. AX AX is used to feed the mono input of parallel effects devices via the AX (7) output jack. All the channel controls (except PAN) will affect the AX signal. The signal is tapped off after the EVE control. The output from an external processor can come back in via the AX ETN () inputs, and be added to the main mix. 0. PAN This adjusts how much of the channel signal plays in the left side of the main mix, and how much plays in the right. For mono channels, if PAN is in the center position, the mono signal appears equally in both the left and right of the main mix. If the control is set left, more of the signal appears in the left side. If the control is set right, more of the signal appears in the right side of the mix. For stereo channels, the PAN control works like a home stereo balance control, by attenuating one side or the other. In the center position, the left and right channel signals pass through to the main mix unaffected. If it is turned left, the right channel is attenuated; if turned right, the left side is attenuated.. EVE This is the master level control for the channel s signal. Subtle adjustment of the channels level control is the key to a fi nely-tuned mix. Typically (providing the is set correctly), this will be positioned somewhere between 0 db () and the 3 o clock position. If you have EVE set all the way up, it s usually a sign that your is set too low. If EVE is set way down, your may be too high. Note: If this were a slide control instead of a rotary one, it would be called a fader. It still serves as the reference point when talking about pre-fader and post-fader. 9

10 INPT INPT AX ETN (O) AX S CT OOM INST INPT EVE -db +5dB INST INPT EVE -db +5dB. AX ETN INPTS Connect the outputs of an external parallel effects device into these inputs. When connecting a mono device (just one cord), always use the left (mono) input and plug nothing into the right input. The signal will appear on both sides. The signals are added into the main mix, and a summed mono signal is added to the monitor mix. Adjustment is provided by the fascinating AX ETN controls described below. 3. AX ETN TO INE IN INE IN 3/ 5/6 BA /NBA This adjusts the amount of signal from the AX ETN inputs that goes to the main mix.. AX ETN TO AX This adjusts the amount of signal from the AX ETN inputs that goes to the monitor mix (AX ). CATION: eave this control turned all the way down if you are using the AX to go to an external processor whose signal is returned via the AX ETNS. Why? It would create a feedback loop that would cause the audience to howl as loud as the speakers (ouch)! IN OT OT OT (O) (O) 5 5 BA /NBA 3 8 IN OT OFF TO EFT IGHT POWE O 6 8 NM 0 PHANTOM 8V AX ETN TO MIX TO AX 0 = +dbu CT OOM 5. CD/TAPE INPTS This is where you connect the outputs of your intermission entertainment. Any line-level mono or stereo device can be used, such as: tape, DVD/CD player, television audio, etc. Signals coming into these inputs are routed directly to the main mix when the CD/TAPE TO () button is pushed in. The signals can also be routed to the CONTO OOM (5) outputs when the CT OOM (8) switch is pushed in. See Appendix B for more information about CA connectors. When connecting a mono device (just one cord), you ll need a Y-splitter CA adapter. It turns a mono output cord into two cords, so both the right and left tape input jacks can be used. This adapter is widely available. Note: There is a chance of feedback if you have the tape inputs and outputs connected to the same recorder, and the recorder is in record mode. 0

11 MASTE SECTION Before you read this section, have a read of the channel strip controls in the previous section EFT IGHT POWE O NM 0 PHANTOM 8V AX ETN OFF TO MIX TO AX TO = +dbu CT OOM 6. POWE ED This ED turns on when the mixer is switched on, and (as you can probably guess) it turns off when the mixer is switched off. 7. PHANTOM POWE SWITCH and ED Push in this switch to provide phantom power to the () input X jacks. Phantom power is required to operate most condenser microphones (some condenser microphones are battery-powered). With the switch pushed in, the Blend 6 provides +8 VDC phantom powering on X pins and 3. If you have ribbon mics, tube mics, or dynamic mics that do not require phantom power, leave the PHANTOM POWE switch out. If you are using both condenser and dynamic mics, don t worry. Phantom power will not hurt most dynamic mics. Check the microphone s user manual if you re not sure. Caution: Turn all output levels down before operating this switch to avoid the possibility of a pop in your speakers. Do not use phantom power with tube or ribbon microphones, as this may cause damage. 8. CT OOM Switch se this switch to select the signal source for the CONTO OOM outputs,, and METES. When the switch is up, they all receive the main mix signal tapped after the control. When the switch is pushed in, they all receive the raw CD/TAPE Input signal. Turn down the CT OOM (9) control, and (0) before engaging. 9. CT OOM Knob This adjusts the signal level going to the CONTO OOM (5) outputs. Note: When the CT OOM (8) switch is up, the CONTO OOM output is also affected by the MIX () control. 0. This adjusts the headphone levels without disturbing the main mix. Turn this down before connecting and putting on your headphones, or engaging the CT OOM (8) switch. Bring it up slowly. Please see page for more information on hearing protection.. CD/TAPE TO Switch If you have a CD or Tape Deck connected to the CD/TAPE inputs, push down this switch to add the CD/TAPE signal to the main mix. This is useful if you want to play some entertainment* while the band is taking a break. se the control to adjust the volume level. * We do not mean to imply that your band isn t entertaining, or that any other music could possibly fi ll in for them.. This rotary knob controls the fi nal level of main mix signals sent to the outputs, TAPE outputs, CONTO OOM, and METES. So it all comes down to this one control. All active mono and stereo channels that are not turned down will appear in the main mix. Other signals feeding this control include AX ETN TO (3), and CD/TAPE when CD/TAPE TO () is pushed in. 3. METES These left and right meters have eight EDs each, with thresholds ranging from db up to +6 db (O = overload). The 0 db ED corresponds to an output level of + dbu (.3 V MS). The O EDs turn on when the output reaches +0 dbu. There is a fair margin of safety before actual clipping distortion occurs, but you should turn things down if the O EDs come on. Normally, the meters display the level of the main mix, after the () control. If the CT OOM (8) switch is pushed in, the meters display the raw level of the CD/TAPE signal, and not the main mix. You can get a good mix with the meter s peaks fl ashing anywhere between and +8 db. Most amplifi ers clip at about +0 db, and some recorders aren t so forgiving either. For best real-world results, try to keep your peaks between 0 NM (normal) and +8. If your meters are too high, you will get distortion. If they are too low, then your signal-to-noise will suffer. se the meters to help you adjust the mixer for optimum performance without distortion or noise. Then you can adjust your amplifi er s level controls for good overall volume.

12 AX ETN INE IN INE IN 3/ 5/6 (O) BA /NBA 6 AX S (O) IN OT OT OT 7 (O) BA /NBA OTPT CONNECTIONS. OTPTS 5 5 CT OOM These /" TS jacks represent the end of the mixer chain, where your fully mixed stereo signal enters the real world. Connect these outputs to the inputs of your amplifi ers, powered speakers, or serial effects processor (graphic equalizer, for example). 5. CT OOM OTPTS These /" TS jacks can be used to provide another main mix output (with the CT OOM (8) switch set to S), or to monitor the CD/Tape Inputs (CT OOM switch set to CD/TAPE). Connect these outputs to the inputs of an amplifi er, powered speakers, or recording device. 6. AX OTPT To create a stage monitor mix, connect this /" TS output into your monitor amplifi er s input, or powered monitor s input. This jack can also be used to feed the inputs of an effects device. Each channel strip has an AX (8) send control knob that adjusts how much of that channel s signal appears at this output. The output from this jack is the sum of all those active channels that have their AX knobs set to more than the minimum position. This output is not affected by the channel EVE (), or () controls. 7. AX OTPT This /" TS output can be used to connect to the input of an external effects device. Each channel strip has an AX (9) control that adjusts how much of that channel s signal appears at this output. The output from this jack is the mix of all those active channels that have their AX knobs set more than minimum. This output is affected by the channel EVE (), but not the () control. Note: Since this output is post-channel and EVE, it is not used as a traditional stage monitor cue. IN 8 8 OT 9 It is intended to patch into an effects device s input, hence the name. 8. TAPE OTPTS se these jacks to capture the entire performance to tape. The signal at these jacks is a sample of the main mix, as it appears at the () output. The TAPE OTPT level is affected by the () control. 9. OTPT The stereo signal at this output jack is the same as the CT OOM (5) outputs, but it is not affected by the position of the CT OOM (9) knob. You can listen to the main mix, or the CD/TAPE, depending upon the position of the CT OOM (8) switch. The (0) control allows you to set the levels in your headphones as desired, without disturbing the main mix or control room levels. Note: Be very careful because the jack can drive any standard headphones to very loud levels. Please see page for information on hearing protection. See Appendix B for information about /" TS stereo connectors. EA PANE FEATES POWE SWITCH Push the side of the switch labeled ON to turn the mixer on; you should see the POWE ED (6) glow with happiness. To turn the mixer off, push the switch the other way. As a general rule, turn the mixer on fi rst, before any amplifi ers or powered speakers. At the end of a show, turn it off last. This will prevent any turn-on or turn-off thumps from being heard in the speakers. 3. POWE IN POWE 3 9 VAC POWE IN 6 CHAN BOGHT TO YO THE FOOWING A "TAPCO", "MACKIE", This connection is where you connect the supplied external AC power supply to provide AC power to the mixer. Connect the external power supply to the Blend 6 fi rst, then plug the power supply into a suitable and properly rated AC outlet. WANING: Make sure you use the correct external power supply capable of providing 9 VDC at.5 amps. ON

13 Appendix A: Service Information Warranty Service Details concerning Warranty Service are spelled out in the Warranty section on page 9. If you think your TAPCO Blend 6 has a problem, please do everything you can to confi rm it before calling for service. Doing so might save you from the deprivation of your mixer and the associated suffering. These may sound obvious to you, but here are some things you can check. ead on. Troubleshooting Bad Channel Is the channel turned up? Is the channel EVE turned up? Try the same source signal in another channel, set up exactly like the suspect channel. Bad Output IS the control turned up? If it s a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the left speaker is still dead, it s not the mixer. Noise Turn the channel EVE, AX ETN, and AX controls down, one by one. If the noise disappears, it s either that channel or whatever is plugged into it, so unplug whatever that is. Power Our favorite question: Is the POWE switch on? Is the external power supply securely plugged into the POWE IN connector on the back of the Blend 6? Is the external power supply plugged into an AC power strip? Make sure the power to the power strip is turned on. Are all the lights out in your building? epair Service for TAPCO mixers is available at our factory, located in sunny Woodinville, Washington. Service for TAPCO mixers living outside the nited States can be obtained through local dealers or distributors. If your mixer needs service, follow these instructions:. eview the preceding troubleshooting suggestions. Please.. Call Tech Support at , 7 am to 5 pm PST, to explain the problem and request an A (eturn Authorization) number. Have your mixer s serial number ready. You must have an A number before you can obtain service at the factory. 3. Keep this owner s manual. We don t need it to repair the mixer.. Pack the mixer in its original package, including endcaps and box. This is very important. When you call for the A number, please let Tech Support know if you need new packaging. OD Technologies is not responsible for any damage that occurs due to non-factory packaging. 5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime phone number, A number, and a detailed description of the problem, including how we can duplicate it. 6. Write the A number in BIG PINT on top of the box. nits sent to us without the A number will be refused. 7. Ship the mixer to us. We suggest insurance for all forms of cartage. Ship to this address: TAPCO SEVICE DEPATMENT 60 Wood-ed oad NE Woodinville, WA We ll try to fi x the mixer within three to fi ve business days. Ask Tech Support for the latest turn-around times when you call for your A number. The mixer must be packaged in its original packing box, and must have the A number on the box. Once it s repaired, we ll ship it back the same way in which it was received. This paragraph does not necessarily apply to non-warranty repair. onely? ooking for that special someone? Do you have a question about your TAPCO Mixer? Please call our Technical Support chaps at , Monday to Friday, from 7 am to 5 pm PST. After hours, visit and look under Support, or us at techmail@tapcogear.com 3

14 Appendix B: Connections X Connectors Channels and use 3-pin female X connectors on the inputs. They are wired as follows, according to standards specifi ed by the AES (Audio Engineering Society). /" TS Phone Plugs and Jacks TS stands for Tip-Sleeve, the two connections available on a mono /" phone jack or plug. They are used for unbalanced signals. SEEVE SEEVE TIP SHIED HOT TIP TIP COD 3 SEEVE SHIED COD 3 HOT SHIED /" TS nbalanced Wiring: Sleeve = Shield Tip = Hot (+) X Balanced Wiring: Pin = Shield Pin = Hot (+) Pin 3 = Cold ( ) 3 COD HOT CA Plugs and Jacks CA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications. They are unbalanced and electrically equivalent to a /" TS phone plug. /" TS Phone Plugs and Jacks TS stands for Tip-ing-Sleeve, the three connections available on a stereo /" or balanced phone jack or plug. TS jacks and plugs are used for balanced signals and stereo headphones: Balanced Mono CA nbalanced Wiring: Sleeve = Shield Tip = Hot SEEVE TIP SEEVE TIP ING SEEVE SEEVE ING TIP TIP ING TIP SEEVE /" TS Balanced Mono wiring: Sleeve = Shield Tip = Hot (+) ing = Cold ( ) Stereo Headphones ING SEEVE SEEVE ING TIP TIP ING TIP SEEVE /" TS Stereo nbalanced Wiring: Sleeve = Shield Tip = eft ing = ight

15 Appendix C: Blend 6 Specifications Frequency esponse Mic Input to any Output (Trim at 0 db): +0, db, 0 Hz to 0 khz 3 db, 0 Hz to 80 khz Distortion THD and SMPTE IMD; 0Hz to 0kHz Mic Input to Main Output: < + dbu output Noise 0 Hz to 0 khz BW (50Ω source impedance) Equivalent Input Noise (EIN): 8 dbu esidual Output Noise: Channel and Main Mix levels off Main, Ctrl oom, Phones: 0 dbu Aux Mon out 8 dbu Aux out 9 dbu Common Mode ejection atio (CM) Mic In: 60 khz maximum Crosstalk Adjacent Inputs or Input to Output: 85 khz Input Gain Control ange Mic In: ine In: Phantom Power Equalization Mono Channel : High ow Stereo Channel : High ow Mixer ated Output Main, Aux, Control oom: Maximum ated Output: Maximum Input evels Mic Input: +3 db to +50 db db to + 5 db +8 VDC ±5 khz ±5 80 Hz ±5 khz ±5 80 Hz + dbu +8 dbu +8 dbu, +3 db Inst Input: +8 dbu, db Stereo ine Input, Tape Input, and Aux eturn: +8 dbu Maximum Voltage Gain Mic Input to: Main Output: Tape Output: Aux Sends: Control oom Output: Phones Output: Inst Input to: Main Output: Tape Output: Aux Sends: Control oom Output: Phones Output: Stereo ine Input to: Main Output: Tape Output: Aux Send: Control oom Output: Phones Output: Tape Input to: Main Output: Tape Output: Control oom Output: Phones Output: Aux eturn to: Main Output: Tape Output: Aux Send: Control oom Output: Phones Output: Input Impedance Mic Input: Inst Input: Stereo ine Input: Stereo Aux eturns: CD/Tape In: Output Impedance Main, Ctrl oom, Aux Sends: Tape Output: Phones Output: 7 db 7 db 7 db 8 db 8 db 9 db 9 db 9 db 59 db 59 db 0 db 0 db 0 db 30 db 30 db 0 db 0 db 0 db 0 db 0 db 0 db 0 db 30 db 30 db.3 kω, balanced MΩ 0 kω, balanced 0 kω, balanced kω, unbalanced 0 Ω kω 5 Ω Channel evel Set ED (Sensitivity) 0 dbu (normal operating level) V Meters Main eft and ight 8 segments: Clip (+6), +, +8, +, 0,,,, 0 ED = + dbu 5

16 AC Power equirements External Power Supply output: ma (.5 mm AC coaxial power connection) External Power Supply AC input.s. 0 VAC, 60 Hz Europe 0 VAC, 50 Hz Japan 00 VAC, 50/60 Hz Korea 0 VAC, 60 Hz Physical Dimensions and Weight Height: Width: Depth: Weight:.6 in/66.7 mm 8.3 in/09.6 mm 0.5 in/66.7 mm 3.5 lb/.58 kg Disclaimer Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifi cations at any time without notice. During a recent Garden Fete put on by the Society for the Prevention of Misunderstandings (SSoF), this mixer was accidentally awarded fi rst prize in the emon Bundt Cake category. Gain Structure Diagram 30 dbu INE INPT MINIMM STEEO INPT OW 0 5 PAN (STEEO) PAN (O) 3 STEEO EVE CHANNE EVE 6 SM 6 EVE INPT IMM This diagram shows the gain levels in dbu, and the range of adjustment of the signal level as it wanders through the various circuitry inside the mixer. The left side is the input, where the signals enter the mixer, and the right side is the main output. 6

17 Block Diagram This shows an outline of the strange goings on inside the mixer. O CHANNES and IN PHANTOM 7 +8 VDC 7 6 EVE OW EVE INST IN 80 K SHEVING STEEO CHANNES 3/ and 5/6 INE IN EFT (O) EVE OW INE IN IGHT 80 K SHEVING SM THING AX ETNS AX ETN EFT (O) AX ETN TO AX ETN IGHT SM THING ESE AX ETN TO AX TAPCO BEND 6 BOCK DIAGAM SSE 0/0 PAN AX / AX / PAN AX / AX / 3 METES AND PATENTED HAMPSTE HYPNOTIZE 8 or CD/TAPE TO CT OOM CD/TAPE TO 9 CONTO OOM 0 EFT MIX OT IGHT MIX OT EFT CD/TAPE OT IGHT 8 EFT CD/TAPE IN IGHT 5 5 EFT CONTO OOM OTPTS IGHT 9 HEADPHONE OTPT 6 AX / AX / 7 EFT BS IGHT BS AX () BS AX () BS

18 Track Sheets se these sheets to record some of your favorite settings. TAPCO Blend 6 NOTES -db +5dB -db +5dB khz khz khz khz POWE EFT IGHT O 6 8 OW AX OW AX OW AX OW AX NM 0 PHANTOM 8V AX ETN TO 0 = +dbu MIX TO AX PAN PAN PAN PAN 3 CT OOM OFF EVE EVE EVE EVE TO TAPCO Blend 6 NOTES -db +5dB -db +5dB khz khz khz khz POWE EFT IGHT O 6 8 OW AX OW AX OW AX OW AX NM 0 PHANTOM 8V AX ETN TO 0 = +dbu MIX TO AX PAN PAN PAN PAN 3 CT OOM OFF EVE EVE EVE EVE TO 8

19 TAPCO IMITED WAANTY A. OD Technologies Inc. warrants all materials, workmanship and proper operation of this TAPCO product for a period of one year from the original date of purchase. If any defects are found in the materials or workmanship, or if the product fails to function properly during the applicable warranty period, OD Technologies, at its option, will repair or replace the product. This warranty applies only to equipment sold and delivered within the.s. by OD Technologies or its authorized dealers. B. Failure to register online or return the product registration card will not void the one-year warranty. C. Service and repairs of TAPCO products are to be performed only at the factory, or a factoryauthorized service center. nauthorized service, repairs, or modifi cation will void this warranty. D. To obtain factory service, please follow the instructions found on page. E. OD Technologies Inc. and Authorized TAPCO Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. OD Technologies and Authorized TAPCO Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealer s invoice or sales receipt. Final determination of warranty coverage lies solely with OD Technologies Inc. or its Authorized Service Centers. F. TAPCO products returned to OD Technologies and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by OD Technologies at our rainforest factory complex. OD Technologies may use refurbished parts for repair or replacement of any products. Products returned to OD Technologies that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at the factory will be returned freight prepaid by OD Technologies to any location within the boundaries of the SA. G. OD Technologies warrants all repairs performed for 90 days or for the remainder of the warranty period. This warranty does not extend to damage resulting from improper installation, misuse, neglect or abuse, or to exterior appearance. This warranty is recognized only if the inspection seals and serial number on the unit have not been defaced or removed. H. OD Technologies assumes no responsibility for the quality or timeliness of repairs performed by TAPCO Authorized Service Centers. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. J. This is your sole warranty. OD Technologies Inc. does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of OD Technologies or to make any warranty for OD Technologies. K. THE WAANTY GIVEN ON THIS PAGE IS THE SOE WAANTY GIVEN BY OD TECHNOOGIES INC. AND IS IN IE OF A OTHE WAANTIES, EXPESS AND IMPIED, INCDING THE WAANTIES OF MECHANTABIITY AND FITNESS FO A PATICA PPOSE. THE WAANTY GIVEN ON THIS PAGE SHA BE STICTY IMITED IN DATION TO ONE YEA FOM THE DATE OF OIGINA PCHASE FOM AN ATHOIZED MACKIE DEAE. PON EXPIATION OF THE APPICABE WAANTY PEIOD, OD TECHNOOGIES SHA HAVE NO FTHE WAANTY OBIGATION OF ANY KIND. OD TECHNOOGIES SHA NOT BE IABE FO ANY INCIDENTA, SPECIA, O CONSENTIA DAMAGES THAT MAY EST FOM ANY DEFECT IN THE TAPCO PODCT O ANY WAANTY CAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specifi c legal rights and you may have other rights which vary from state to state. Please keep your sales receipt in a safe place. TAPCO and Mackie are registered trademarks of OD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. 00 OD Technologies Inc. All ights eserved. 9

20 tapcogear.com